Jazz mp3

musicology #0608

ChristmasComing #1

(Jimmy Smith – God Rest Ye Merry Gentlemen)

Shame on themusicologist…almost a month has passed without an entry..such is 21st Century life.

Anyway time done passed and today is the 1st December which, (in themusicologist’s dwelling), means one thing…The Christmas music begins. For the next 25 days it’s nothing but the festive sounds that get flung down and bearing in mind that access to the preceding years musicology has been, (temporarily), interrupted this year I have the whole 500+ Christmas cuts from the vaults at my disposal without fear of repeating myself..so listen the ride as I grab my reindeer, hook em up to themusicology sleigh and ride out into the snow spreading the sounds of Christmas in my wake.

First up is a cut highlighted from the 1964 Verve album Christmas Cookin’ by Jimmy Smith

musicology #473

2LegendsClash II #9

(Billie Holiday – Big Stuff)

penultimate cut of the two legends…feels like the time has come to move on up.

1946 cut on the Decca label. Recorded in New York on March 13th. Featuring Joe Guy, Joe Springer, Tiny Grimes, Billy Taylor and Kelly Martin.

musicology #472

2LegendsClash II #8

(Dinah Washington -The Man That Got Away)

Today’s appropriate cut from the Legend that we know as Dinah Washington is one for those who know that the only blues is the ‘done lost my wo/man’ blues and no-one sings ’em better than Ruth Jones….Hold this quote from Pianist Junior Mance, ( 2 year musical companion of Dinah’s), who said;

“When I went to work with Dinah Washington, I learned what the blues were all about”

That’s not to say that the Blues are all about sadness…they’re not. I wrote recently about catharsis and that is what the blues are really all about. No good suppressing your feelings as one day when you are least expecting it they will come back and tear the heart and soul out of you. Another thing to bear in mind is that as sure as the sun shines trouble don’t last always and if you don’t feel pain you won’t recognise joy when it returns into your life.

This one from Dinah is from her Roulette days, (which turned out to be her last), recorded and released in the early 60’s by which time she had been married SEVEN times, (For those who don’t know her story she died at the tender age of 39 on December 19th 1963). Amazingly there are some who felt/feel that Dinah’s voice during this period had “lost it’s lustre” !! If I was there when they said it I would have simply replied;

“you’re talking shit and you don’t have a clue about music”…Job Done.

musicology #470

2LegendsClash II #6

(Dinah Washington – Stairway To The Stars)

“When you get inside of a tune, the soul in you should just come out. You should just be able to step back and let that soul come right out”  -Dinah Washington-

With that in mind..

musicology #469

2LegendsClash II #5

(Billie Holiday – Travelin’ All Alone)

Still ‘Moanin’ Low’ today…like to shake the blues but they seem to be stuck to me like glue. need to get my self together..breathe some fresh air and flex but the rain won’t stop falling on my troubled mind so with that in mind I’ll try to catch some catharsis with today’s cut which as I said on day 1 of the theme is the piece that kicked off my love affair with Billie Holiday way back sometime in the late 70’s. Beautiful piece of tenor sax from The President, (Lester Young), sets the tone for Billie to cut loose and then a final flourish from clarinet master Buster Bailey to finish. Fine example of a group in complete harmony.

Recorded in New York, 13 September 1937, Released on Vocalion.

Buck Clayton, Buster Bailey, Lester Young, Claude Thornhill, Freddie Green, Walter Page, Jo Jones

I’m so weary and all alone,
Feet are tired like heavy stone,
Travelin’, travelin all alone,
Who will see and who will care,
‘Bout this load that I must bear,
Travelin’, travelin all alone,

Prayers I sent to heaven above,
‘Bout my burdens, woes and love,
Head bowed down with misery,
Nothing now appeals to me,
Travelin’, travelin all alone,

Give me just another day,
There’s one thing I want to say,
Friends, the world and all it’s gold,
Leave you always when you’re old
Travelin’, travelin all alone,

musicology #468

2LegendsClash II #4

(Dinah Washington – If I Loved You)

“Dinah was like Judy Garland. She drew all the whores, pimps and losers. Certain entertainers draw a certain element in audiences and in friends. If a singer sings a loser’s love song, the audience identifies. ‘Somewhere over the rainbow’ is a loser’s lament. ‘Blue skies’ is another. ‘Look to the rainbow’ is another. Dinah sang those. I’ll win somewhere, she sang. Dinah figured that somewhere over the rainbow she would find a man who loved her”.

-Eddie Chamblee-

Is there ANYONE out there today who can hit, (and hold), the note Dinah hits at the end of this piece? if so I beg you to bring me in…

LISTEN TUNE…

musicology #465

2LegendsClash II #1

(Billie Holiday – Things Are Looking Up)

So, the end of another year and on reflection what a year it has turned out to be, (at least for me). This time last year themusicologist was on, (what turned out to be), our final family holiday. Today a year later ‘farce has become history’.. doubt that Baudrillard was thinking in terms of a major relationship disintegrating into nothing when he penned that fragment but nevertheless it springs to mind. No point pretending that at times the pain wasn’t almost unbearable but as I sit here today, (alone), at the start of a new decade I can’t help but look back and say I am glad to be alive. Been a steep old learning curve, (that’s for sure), and although it’s been a white knuckle ride I wouldn’t have it any other way and after all… “Endings are beginnings of beautiful things”

Certainly didn’t want such a deep and profound journey to end the way it has but as I have already mentioned…for me it’s not what happens to us along the way it’s how we respond and I do believe that “every time it rains, it rains…pennies from heaven”.

Which brings me to the first theme of 2010 featuring two of the greatest vocalists to grace the 20th Century..neither should need an introduction but I’m going to drop one anyway.
First up to the microphone stand is perhaps the most influential singer to have ever recorded. A woman whose phrasing changed the face of so called popular music forever..Eleanora Fagan otherwise known as Billie ‘Lady Day’ Holiday who, along with Louis ‘Satchelmouth’ Armstrong, revolutionised the musical landscape. Brother Armstrong rocked the Mic but it was said, and no doubt in my heart it’s true, that when Lady Day first took the stand in a Harlem joint in the early 1930’s penniless and destitute and sung ‘Travelin All Alone’ such was her authenticity that Cats broke down and cried. I first heard Billie, (and that song), sometime in the 70’s, (as a child), and I promise you it shook the ground I stood on and begun a musical love affair that will last forever.  It was the early Billie that I first heard and it’s the early Billie, (up to ’45), I connected to. Why Billie? why now?..in two words: Authenticity and Inspiration.

Listening to Billie bare her heart and soul provides me the strength to follow mine in the knowledge that to be in love is reason enough to live. Not, I have subsequently learnt, to be loved, (beautiful though this is), rather…to love. A feeling that doesn’t carry the burden of expectation or demand a return. Love is a language and, (as Erich Fromm so eloquently wrote), an Art and one I intend to do my best to continue learning along with the help of those who inspire me to want to.

So with that in mind hold this first cut from a lady who definitely lived and learnt a thing or two about the art while travelin’.

Recorded in New York, (November 1937),  and released on a Brunswick 78. Featuring the combined talents of the majestic Teddy Wilson in complete harmony with luminaries Buck Clayton, Prince Robinson, Vido Musso, Allan Reuss, Walter Page and Cozy Cole.


musicology #419

AfterTheStorm #4

(John Coltrane – Equinox)

One from the ‘Trane…A Giant whose drive to communicate his feelings using the universal language is, (as far as I am aware), almost unparalleled. Technically there are other great musicians but something about John Coltrane feels unique. I am no Coltrane or Jazz scholar and his music only found me when I was searching for something that could define my deeply complex feelings about a deeply profound life experience, (musicology #6)

The piece that found me was from one of his masterpieces ‘A Love Supreme’ and since that day, (which inspired me beyond belief) his spirit sits among the pantheon of musicologists who I am honoured to call guide.

This cut, (recorded in 1960), was released in 1964 on an Atlantic album  called Coltrane’s Sound and features the backbone of the quartet that took music somewhere new, pianist McCoy Tyner and drummer Elvin Jones, (along with bass player Steve Davis)

Hold this quote from Elvin Jones

“To me he was like an angel on earth. He struck me that deeply. If there’s any such thing as a perfect man, I think John Coltrane was one and I think that kind of perfection has to come from a greater force than is here on earth”

musicology #411

Terry Callier #3

(Terry Callier – Look At Me Now)

Mr Callier’s first recording. Released as a 45 in 1963 !!

Now my people think that I just fake it,
I know I do things they don’t understand,
So I’ve got to show ’em I can take it yeah,
I’ve got to show ’em I can be a man,
Still there’s somethings that never have appealed to me,
Like standing out in front of a crowd,
Well people just you wait and see,
I’m gonna give you reason to be proud,

I’m gonna make it some day,
I’m gonna make it somehow,
Then I’ll be able to say hey,
Take a look at me know,
Yeah look at me know,

Well now my woman thinks I’m just a dreamer,
And she’s right about me I suppose,
But I could never, never, never be a schemer,
I don’t know the things a schemer knows,
But I do know there’s a better day coming up soon,
And baby just you wait and see,
I’ll find us a light in this darkness,
If you just have faith in me,

I’m gonna make it some day yeah,
Gonna make it somehow,
I’ll be able to say yeah, yeah, yeah
Baby look at me know,
Look at me know,
Look at me know,
Look at me know

musicology #337

AlternativeSoundtrack4 #4

(Jimmy Smith Trio – Jimmy’s Blues)

Fats has taken up the challenge from the young pretender and the battle hots up..first Fats on top and then for a while Eddie hits a winning streak which sees him reach his inital target of “Ten grand in one night” but rather than call it a night the kid fancies that “this table is mine” and in his naivite he gives his opponent the opportunity to carry on playing “Until Minnesota Fats says it’s over”.

I say naivite but in my experience ‘etiquette’ can and does play it’s part in ‘the game’ and offering the loser the chance to win his money back is, (or was in the games I played), accepted as an unwritten rule. Unless of course the Hustle is your business and then there are no unwritten rules.

During the contest George C. Scott enters the fray as Minnesota’s backer and we hear him ‘pipe up’ for the first time after watching Eddie and Fats going toe to toe for  hours but as we, (and Eddie) are soon to find out “the Race is not for the swift but for who can endure it”

The music is yet another slice of the 1961 pie but today it’s courtesy of Hammond Organ supremo ‘The Incredible’ Jimmy Smith and Trio freaturing Quentin Warren on guitar and Donald Bailey on drums…borrowed from a Blue Note session called ‘Straight Life’, (recorded by Rudy Van Gelder).

musicology #287

twolegendsclash #10

(Louis Armstrong And His Orchestra – Lawd You Made The Night Too Long)

Penultimate cut from ‘Gate’. (Better late than never)…Recorded in Chi for OKeh at the end of his contract in 1932.

musicology #286

twolegendsclash #9

(Sidney Bechet & His New Orleans Feetwarmers – What Is This Thing Called Love)

Today’s 1941 cut, (recorded in New York), is dedicated to themusicologist junior#2 who is now eleven years of age. Happy birthday kid..I love you more than words can say and thank my lucky stars every day that you, (and your sister), are part of my life. Bechet, (and Shavers). come in and blow one for the yoots them..

musicology #283

twolegendsclash #6

(Louis Armstrong And His New Sebastian Cotton Club Orchestra – You’re Drivin’ Me Crazy)

Judging by this weeks viewer statistics It would be far more effective for themusicologist to roll with some funk/boogie/reggae/etc, boosting the figures, (and the ego), and patting myself on the back for my musical taste and how well it is received around the world but, for me, the unviversal language has a will of it’s own and compells me to follow rather than lead. themusicologist has no destination in mind or even a reason for being other than to share and spread the word.

It’s harder to be and stay positive when under seige from the media and society at large but through thick and thin music is always there to inspire thought and action on the journey and for themusicologist the selection chooses itself…

Armstrong and Bechet, (to name but two), learned, spoke, evolved and taught the language of the underdog, the oppressed and the disenfranchised to millions around the world in a style and formula that needed no translation or formal education. Listening to these Cats blow delivers musical riches beyond my wildest dreams and makes the spirit soar in tandem with the notes that emerge from their weapons.

Doesn’t matter who you are, where you come from, what you believe in or what colour skin you have, (which it most certainly did back then), the universal language speaks to us all and as always this page is a tribute to the artists on parade.

Today’s cut, featuring Father Armstrong, recorded on December 23rd 1930 in Los Angeles showcases his dexterity as trumpet player, vocalist and authentic man of the people. The way he mixes and blends, weaving in and out is a hallmark of his uniqueness. How many trumpet players are there, (or have ever been), that swing so effortlessy from playing to singing?

The band supporting consist of:

Armstrong, Louis (Trumpet, Vocal)
Hite, Les (Conductor, Alto Saxophone, Bass Saxophone)
Orendorff, George (Trumpet)
Scott, Harold (Trumpet)
Graven, Luther (Trombone)
Johnson, Marvin (Alto Saxophone)
Jones, Charlie (Tenor Saxophone, Clarinet)
Prince, Henry (Piano)
Perkins, Bill (Banjo, Steel Guitar)
Bailey, Joe (Tuba, Bass)
Hampton, Lionel (Drums, Vibraphone)

musicology #282

twolegendsclash #5

(Bechet-Spannier Big4 – Sweet Sue Just You)

Yet another top ranking slice featuring original Hell raiser Sidney Bechet this time in tandem with cornet player Muggsy Spanier, (who always sounds to me like he should have run with Al Capone !!), bassman Wellman Braud and guitarist Carmen Mastren. Recorded in New York in April 1940.

musicology #254

sleighbellsring #2

(Fats Waller – Swinging Them Jingle Bells)

One from the king..Thomas Wright Waller. Without doubt one of the most influential musicologists of the 20th Century. The word legend was invented to try and describe in one word cats like ‘Fats’. Virtuoso pianist and supreme songwriter who swung every time he played. Rumour has it that the man played piano for 3 days straight after being kidnapped to play at Al Capone’s birthday party. Leaving the gaff lagging drunk, no doubt as high as a kite and thousands of dollars richer….

If aliens came down from space and wanted to get an idea of what Christmas, (or Jazz), is all about they could do no worse than listen to this cut.

“Swing them Jingles son…”

musicology #213

12AngryMen #9 (alternativesoundtrack #3)

(Jimmy Smith & Lou Donaldson – Summertime)

so the count is now 9 to 3 in favour of the guilty’s. The evidence is being torn to shreds piece by piece and what started as an open and shut case is turning into a battle of subjectivite opinion vs objective facts.

the two performances that, for me, are outstanding are Henry Fonda and Lee J Cobb. The others are good but these two are special. both are featured on this piece of dialogue.

the song which comes courtesy of organist supreme Jimmy Smith and Blue Note stable mate, Saxophone legend Lou Donaldson is a haunting 1957 rendition of the George Gershwin classic Summertime, (penned for the Opera Porgy & Bess). A song that has been covered more times than I’ve had hot dinners, rumour has it that Gershwin adapted it from a Ukranian lullaby ‘Oy Khodyt Son Kolo Vikon’, (A Dream Passes By The Windows), which he heard in 1926.

musicology #206

12AngryMen #3 (alternativesoundtrack #3)

(Sun Ra & His Arkestra – El Viktor)

what strikes me is how much quality dialogue is in this film and thinking about it that’s probably what drew me in when I first saw it. I enjoy language and words very much and crave dialogue and communication. themusicologist provides and delivers a great opportunity for me to connect using the universal language that speaks to us all, (if we listen), and is a manifestation of this desire to communicate.

back to the ’12 Angry’ selection…the dialogue paints it’s own picture and introduces the Henry Fonda character in Socriatic style.

the music is courtesy of Maverick Pianist Sun Ra, (and Arkestra), a cosmic cat of the highest order whose life seems as rich a tapestry as could be woven. Born around 1914, he grew up with Jazz and played the piano/organ/keyboard consistently for his whole life, (recording over a thousand songs). His first recording in 1946 was as Pianist for Rhythm & Blues legend Wynonie Harris. I’m not going to lay out his life story as it’s well documented so I’ll just leave it to Ra and Arkestra to ‘speak’.

musicology #183

soulsearching #5

(Dinah Washington – Am I Asking Too Much)

penultimate cut of the soulsearching which, to be honest feels like it has been a piece disjointed and not quite how I imagined it. still…”The best-laid plans of mice and men often go awry” to quote a, (much used by me), line from Rabbie Burns’s 1785 poem ‘To A Mouse’

But Mousie, thou are no thy-lane,
In proving foresight may be vain:
The best laid schemes o’ Mice an’ Men,
Gang aft agley,
An’ lea’e us nought but grief an’ pain,
For promis’d joy!

Still, thou art blest, compar’d wi’ me!
The present only toucheth thee:
But Och! I backward cast my e’e,
On prospects drear!
An’ forward, tho’ I canna see,
I guess an’ fear

which, apoun reading inspired author John Steinbeck to change the name of his book from ‘Something That Happened’ to ‘Of Mice And Men’

anyway back to the music with a 1947 slice of the downbeat pie. this one shouldnt need any explanation and is as plain as the nose on my face. I’m trying hard to ‘Tame The Bull’ but at the moment it feels like an uphill climb to the bottom. if your ‘companion’ is treating you like dirt on the ground then you know how it feels, if not…then good luck to you.

musicology #149

ladiesweek2 #3

(Billie Holiday – Georgia On My Mind)

no post yesterday so I’ll just have to try and make it up to you with this one.

along with Bessie Smith, (soon come), and Ella Fitzgerald, Billie Holliday’s influence on the art of singing is second to none and was a major influence on all the singers that followed such as Dinah Washington and Aretha Franklin, (to name but 2)

this song written in 1930 by Stuart Gorrell for Hoagy Carmichael’s sister, (Georgia), was recorded at and for Columbia by Billie, (backed by the Eddie Heywood Orchestra), in 1941 and even though the ‘Brother Ray’ version is the one associated with the song for themusicologist it has always been the Billie that ‘takes the biscuit’.

musicology #139

theGood,Bad&theUgly #6

(Sidney Bechet & The New Orleans Feetwarmers – Egyptian Fantasy )

penultimate day of the alternative soundtrack and it’s almost over. all three have managed to arrive at the cemetery and it’s time for the showdown. A winner takes all gunfight to the death…no prisoners taken.

Angel Eyes thinks he’s holding all the cards but Blondie has double crossed them both and is still the only one who knows the real name on the grave that contains the Gold. I’ll say no more and leave it to the man himself to elucidate…

the music is courtesy of virtuoso musician Sidney Bechet, (ably backed by ‘The New Orleans Feetwarmers), whose professional career stretches right back to the birth of ‘Jazz’ in New Orleans during the early 1900’s.

Along with ‘Duke’ and ‘Pops’ Bechet is credited with being instrumental, (no pun intended), in the development of the music that we know and love today and a listen to this should give you an indication as to why.

recorded in 1941 he plays both the clarinet and the soprano sax on this one and is joined by ‘The New Orleans Feetwarmers’

Henry Allen, (Trumpet), J.C Higginbotham, (Trombone), James Tolliver, (Piano), Wellman Braud, (Bass) and J.C Heard on drums.